艺术品展示 / 油画
《查理一世五子女》（The Five Eldest Children of Charles I）

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《查理一世五子女》
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画作名称：
 The Five Eldest Children of Charles I
中文名称：
 查理一世五子女
画 家：
 安东尼·凡·戴克(Anthony van Dyck)
作品年份：
 1637 年 
原作材质：
 布面油画
画作尺寸：
 163.2 x 198.8 cm
馆藏链接：
 英国皇家收藏基金会（Royal Collection Trust, UK）
备注信息：
  

   The five children of Charles I are shown left to right: Princess Mary, (later Princess of Orange and mother of William III); James, Duke of York, (later James II); Prince Charles, (later Charles II); Princess Elizabeth and, in her sister's lap, Princess Anne.  

   The future Charles II rests his hand on the head of an enormous mastiff. The mastiff had been a guard dog since Roman times and appears here as a protector for the royal children at a time of civil unrest. Nonetheless, the position of the young Prince's hand suggests that he is capable of ruling this powerful beast and, by implication, his country. The original of this group portrait was painted for Charles I in 1637, and is still in the Royal Collection. It shows the children at full length with two dogs, the mastiff depicted here and a small 'King Charles' spaniel at the right. Along with Van Dyck's earlier picture of the three eldest children, it was an immensely popular composition, and was copied many times. Van Dyck's relatively informal group of royal children contrasts markedly with the stiff, formal portraits of a generation earlier.   Van Dyck’s masterful painting acknowledges both the youth and the status of its royal subjects, breaking with the earlier tradition of presenting royal children as miniature adults.

 

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The picture was commissioned by Charles I but left the Royal Collection twice, during the Commonwealth and under James II, before being repurchased by George III in 1765 and hung (by 1774) in the King’s Apartments at Buckingham House. The synthesis that Van Dyck achieved in the portrait was described by the nineteenth-century artist Sir David Wilkie: ‘the simplicity of inexperience shows them in most engaging contrast with the power of their rank and station, and like the infantas of Velasquez, unite all the demure stateliness of the court, with the perfect artlessness of childhood. George III’s admiration for the early Stuarts and the aesthetic of Charles I’s court was reflected in this purchase and he hung many of his finest Van Dycks in Buckingham House. However, eighteenth-century attitudes towards childhood, which was increasingly regarded as a distinct, innocent phase of life, are reflected in many of the portraits of George III’s children.


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   Van Dyck’s masterful painting acknowledges both the youth and the status of its royal subjects, breaking with the earlier tradition of presenting royal children as miniature adults. The picture was commissioned by Charles I but left the Royal Collection twice, during the Commonwealth and under James II, before being repurchased by George III in 1765 and hung (by 1774) in the King’s Apartments at Buckingham House. The synthesis that Van Dyck achieved in the portrait was described by the nineteenth-century artist Sir David Wilkie: ‘the simplicity of inexperience shows them in most engaging contrast with the power of their rank and station, and like the infantas of Velasquez, unite all the demure stateliness of the court, with the perfect artlessness of childhood.

   George III’s admiration for the early Stuarts and the aesthetic of Charles I’s court was reflected in this purchase and he hung many of his finest Van Dycks in Buckingham House. However, eighteenth-century attitudes towards childhood, which was increasingly regarded as a distinct, innocent phase of life, are reflected in many of the portraits of George III’s children.

   George III’s taste for Van Dyck might have been sparked by that of his father, Frederick, Prince of Wales, who had a high regard for the collection of Charles I and had purchased Van Dyck’s double portrait of Thomas Killigrew and William, Lord Crofts, in 1748. Similarly, George IV’s interest in the later Stuarts, and his attempts to reclaim items associated with the exiled dynasty, may equally have been inspired by his father.